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ERJES
TARRIETTE BROWP:R
PIANO MASTERY
SECOND SERIES
PIANO MASTERY
SECOND SERIES
TALKS WITH MASTER PIANISTS
AND TEACHERS
INCLUDING CONFERENCES WITH HOFMANN, GODOWSKY,
GRAINGER, POWELL, NOVAES, HUTCHESON AND OTHERS;
ALSO HINTS ON MACDOWELL*S TEACHING BY MRS.
MACDOWELL, AND REMINISCENCES OF JOSEFFY
BY
HARRIETTE BROWER
Authot of "Piano Mastery" and "The Art of the Pianist'
NEW YORK
FREDERICK
A.
STOKES COMPANY
PUBLISHERS
Copyright, 1917, by
CONTENTS
PAGE
PRELUDE
ix
Freedom of Thought
Study
PERCY GRAINGER
HOFMANN
Inspiration in
JOSEF
GUIOMAR NOVAES
JOHN POWELL
....
ARTHUR SHATTUCK
LEOPOLD GODOWSKY
Piano
in
Piano Playing
Should
Sides of Art
Pianist
Many
....
53
Technic
61
80
MRO ...
ERNEST HUTCHESON
MR. AND MRS.
39
Cultivate
CARL FRIEDBERQ
YOLANDA
18
30
The
The Beautiful
in
Music
....
88
100
K.
A.
VIRGIL
Foundation
EDWARD MACDOWELL
Related by Mrs.
114
Edward Mac-
Dowell
RUTH DEYO
125
134
147
MARGUERITE MELVILLELIBZNIEWSKA
.168
MRS. H. H. A. BEACH
How
.179
MARTINUS SIEVEKING
....
LEO ORNSTEIN
....
a Composer Works
....
188
Contents
HAROLD HENRY
Fundamental Principles
....
Elimination
RICHARD BUHLIG
MISCIIA LEVITZKI
of
201
Mechanical
Etudes
208
Hear 215
to
Technic
224
ETHEL NEWCOMB
RAFAEL JOSEFFY
By Some
KATE
S.
CHITTENDEK
AUGUSTA COTTLOW
of His Pupils
....
Technical
Study
Essentials
in
242
.255
Piano
264
ILLUSTRATIONS
Percy Grainger
Frontispiece
PAGE
Josef
Hofmann
Guiomar Novaes
John Powell
Leopold Godowsky
Yolanda Mero
.18
......
......
30
40
62
88
Ernest Hutcheson
100
114
Edward MacDowell
126
134
Ruth Deyo
....
Marguerite Melville-Liszniewska
Mrs. H. H. A. Beach
Leo Ornstein
Henry Holden Huss
Mischa Levitski
Rafael Joseffy
.164
.180
188
.
208
224
242
PRELUDE
Encouraged by the
it
was
become known
number of the
recognition for special gifts.
included
in
been
the
latter have
present volume. Lack of space, however, has prevented
the
inclusion
artists
who
of
many more
rising
young
good music.
HARRIETTS BROWER.
150 West 80th Street,
New York.
PIANO MASTERY
SECOND SERIES
PERCY GRAINGER
FREEDOM OF THOUGHT IN PIANO STUDY
WHEN
When
he gave
he
and
His
went
personality,
is
Piano Mastery
Second Series
a potent force in his character and career. According to his own testimony, he loves to play,
to compose, to teach, to visit new lands, to
become familiar with new people.
has the
youthful buoyancy that welcomes with eager-
He
ness each
new
To come
series
is
vitality of his
individuality.
It
is
the same
when he
plays.
Sincerity
Percy Grainger
you along with it. There is no flagging of energy, no moment of languor, all is
vital and alive.
At times his playing is electrifying. To hear him deliver the opening of
the Tschaikowsky B minor Concerto is the
most exciting experience; something that carcarries
Although
it
has been
my privilege
to confer
with Mr. Grainger at various times, it is pleasant to recall the memory of our first conver-
.We were
Piano Mastery
Second Series
My
European tour,
gained in this country.
embracing many concerts, had of course to be
sailed
relinquished on account of the war.
at three days' notice, and our intention was to
We
It looks
America
My
was Professor Pabst, who subsequently became connected with the Moscow Conservatory. When we came to Germany, I went to
Professor Kwast, at Frankfort, with whom I
remained six years. Later I studied with Busoni,
whom
as pianist
deeply revere.
Percy Grainger
teaching immensely
it is
the
like
it is
the true teacher can so greatly assist the student, by being able to show him exactly how
As
the foundation
Piano Mastery
the Colonies.
Second Series
The Dutch
and American
people. I might say English
most
talented, but their
pupils are perhaps the
talent takes the form of doing things easily.
talent that acquires all with hard
work, and another sort that achieves without
There
is
great lahor.
"You
ask
if
rhythm
it.
is
ing up velocity.
often imagined.
The com-
mon peasant,
Percy Grainger
MENTAL
"About mental processes during actual performance of the piece in public, it is difficult
to speak, as so
brought to bear.
many
It
is
I think
many
a fine pianist
is greatly
worried over the fear of failure of memory.
This may affect his playing; it may prevent
agree that it is a great mental strain to perform a long and exacting program from mem-
ists
ory;
ists
it is
Piano Mastery
program
Of
it
from memory,
in public,
course
not
is
greater.
artistic to
play badly, so
better to have the notes in front
it is
were much
Second Series
Most
The
a fine rendition.
notes.
ART
"Art
IS
NATURAL
Rather I believe in being as natural and free as possible in the working out of
many
rules.
instrument.
For
instance,
Why
striving to
stance,
is
become heroic?
Pachman,
for in-
Percy Grainger
we admire
wish him
and do not
"The
technic of
habit.
an art
is,
to a certain extent,
I do believe in habit.
mainly
used to measuring
We
get
eye
and hand, until we can locate them automaticIt is the same with all sorts
ally, from habit.
skips, for instance, with
we
of technical figures;
doing
them
through
When
the mechanical part has become automatic, we can give the mind fully to the emotion to be expressed. For I do not believe you
can
tional
part I
and
its
emo-
For my own
much concerned about how the
am
not
aspirations.
"When
10
Piano Mastery
Second Series
use of the pedals." Mr. Grainger seated himself at the piano and played a brilliant passage
rest.
This
is
not new, of
The
course, but students forget to study it.
a
to
out
desired
tone comes with
ability
bring
not easy to accomplish at
Most learners think they must play such
practice, for
first.
it
is
them
is
way
to study
piano.
PIECES
"Many
of the
Percy Grainger
11
DELIGHTS OF STUDY
"To me
art
is
joy.
dious the artist, the
in his art.
To my
Above
art,
should be easy,
all instinctive;
heraus.'
Piano Mastery
12
Second Series
more
fruitful
stinctively impelled.
which
him.
his
many
movements.
drill
how much
"As
to instructing beginners, I find naturally no necessity for doing this on the piano;
but I have taught beginners on the mandolin
13
Percy Grainger
NEW INSTRUMENTS
Mr. Grainger had much
modern mammoth
is
that
it is
orchestra.
My own feeling
in combinations of
chamber music
that these smaller, subtle, but highly characteristic instruments come into their own, and
are heard at their full value.
The
latter-day
tendencies are not toward noise and tonal ef-
on a gigantic
all
scale,
let
us say
Piano Mastery
14
Second Series
Some
of
Mr.
Grainger's compositions
already published embody the folk tunes of
various countries in new and original forms.
as.
for a smaller
small a
number
company
as twelve.
Percy Grainger has been called by Runci"the one cheerful, sunny composer living." Finck says of his music: "One really
man
"He catches us
praise of his compositions.
and
whirls
us
up
away in the spirit of the country dance." "His music sounds like the dawning of a new era." "Such genuine humor and
wit, such enthusiasm, such virility and masterly
musicianship as Mr. Grainger shows are met
with only on the rarest occasions in a musician of
any country.
Indeed
it is
doubtful
if
15
Percy Grainger
these qualities are combined in
composer now before the public."
all
any other
known
authorities.
We
We
altitudes.
Australian
is
New
The young
met on
all sides
in
York, amongst musicians of every nationality, and he points with pride to the fact
that some of the best criticisms he has received
in America have appeared in the German
newspapers. He is no less proud of the high
spirit of neutrality which permeates English
musical life at present.
Not long ago two
large festivals of German music, one devoted
to Brahms, the other to Wagner, were held
there. Another "Festival of German Music"
16
Piano Mastery
Second Series
great
Grainger run one another very close in popuMr. Grainger is boundlessly enthusilarity.
astic over his "rival," who, in his judgment, is
the greatest of living composers.
"It is inspiring to live in an age in which
such noble and altruistic interpretations of the
universality of art are displayed," said
Mr.
his
he has traveled.
ish,
knowledge of Icelandic, Jutish, Frisian, Faroese and the peasant dialects of Norway. This
acquaintance with the languages has greatly
assisted in the study of folk melodies.
He is
Percy Grainger
17
II
JOSEF HOFMANN
INSPIRATION IN PIANO PLAYING
AMERICANS
naturally feel a peculiar interest in the art of Josef Hofmann, for they have
it
offered
by
the
little
of America.
upon
orchestral prelude,
Ah, then
it
was no
after the
to play.
longer a tiny child, in a
Josef
Hofmann
19
to
the
No
wonder people went wild with excitement and split their gloves in vociferous apIt was almost beyond belief.
The
plause.
climax came when this mite of a boy began
to improvise on a theme handed up to him by
chance from any one in the audience. Then
his powers were tested and not found wanting.
People shook their heads and said such precocity could not mature; that the lad would
probably never be heard from in the future.
In this they were vastly mistaken. The child
Hofmann was
Josef
still;
But
it
in his
upward
He
Piano Mastery
20
Second Series
artist.
Mr. Hofmann,
the park.
but was
cautioned by his master, who held up a warning fore finger, "not to be a bore."
"You
will
marked the
Mrs.
meet
artist,
my
is
color.
Josef
Hofmann
21
We
"That was
in '88," said
technic: that
is
instance, than I
his force
to the limit
reserve.
now
of production,
it
will
22
Piano Mastery
Second Series
always be some reserve power back of it. Ruwas capable of immense power, for he
had a very heavy hand and arm. His fifth finbinstein
Then
his fingers
my
thumb
think of
it!
cushions on them.
all his
power,
TECHNIC STUDY
"I do no technical work outside of the composition, for the reason that I find plenty of
work on
technic to
The
piece
tempo and
studied till the player has comof every possible variety of tone, touch
and degree of power or delicacy. When all
dynamics
mand
is
ready to
IDEAL INTERPRETATION
"I repeat that only when the player has
control of the means, has he the true freedom
Josef
to
clearly
Then
Hofmann
23
an improvisation.
"There are many circumstances which influence the artist's interpretation. His prevailing mood at the moment, the piano, the mental
quality of the audience, the acoustics of the
space he has to fill, and so on. I play very differently in the concert hall from what I do at
home in
study. When before an audience,
I must take into account all the things I have
my
mentioned.
scale of
If I
am to
dynamics
is
fill
Carnegie Hall,
my
There must
like-
"You speak
how
are times
when
it
24
Second Series
Piano Mastery
The
listener goes
away unfed.
TWO KINDS OF
PIANISTS
is
thought
out in the privacy of the studio. When they
come before an audience they merely transfer
this
it
never did
so.
myself and
he had played
"The
only way. I
master Rubinstein
this is the
my
He
it
number
They realize how many forces react on the artupon the platform even the temperature!
ist
am
Josef
milder than
Hofmann
would be
it
if
25
more bracing.
"It
is
in the studio,
it
admits certain
limits
free,
ele-
This results in a
it
is
within
sonal.
But back
of
it all
must be
his
and improvise
TAKING RISKS
is to play with freedom and inspirone
must strike out boldly and not hold
ation,
back in timidity or bashfulness; these are bad
"If one
faults.
who
We
fear to
here or there
so
stiffly
Piano Masrtery
26
Second Series
sound
stein,
a piano.
sort of
spite of the
He
risk!
But
notes
if
light.
in
Moszkowski
his
sat beside
his
me.
Valse
Rubinstein,
Caprice,
playing
all but one of those treacherous high
skips. When he hit that solitary one correctly,
missed
any more.'
"
Josef
Hofmann
27
THE METRONOME
"I notice, Mr. Hofmann, that you have a
metronome standing here. In one of your answers to questions in the Ladies'
nal,, I believe you disapproved of
Home
Jour-
it."
man
may have
tempo
it
frequently.
MODERN MUSIC
"What do
of
it
is
only
contortion;
Stravinsky
Some
and
Yet it is much
Schoenberg, for instance.
after
a
as
fad, nowadays, from curiossought
If one falls in a
ity, if for no other reason.
fit
see
Contortion!
The Stravinsky
ballet, recently
again
contortion.
28
Piano Mastery
THE PIANO
AS
Second Series
A MEANS OF EXPRESSION
"Absolute control of
means
sessed
by
the player
all
his
interpretations.
"The piano
means of
his instrument.
We
piano expresses
really know
it can say nothing at all without the pianist.
If he have many emotions and the ability to
all these,
when we
it,
he should,
Josef
Hofmann
29
This the
for the time being, efface himself.
conductor of the New York Symphony is able
to do.
five
we come
to be in perfect accord.
soloist ought to play with his orchestra in
smaller places before appearing in the large
or six times,
cities if
"Yes, I
am
a co-worker with
its best.
Godowsky on
piece.
It
"After
the
is
me
It takes
work
is
my
summer
there,
for a schoolmaster.
we
how
Ah,
touring season,
in
Maine.
by the
sea!
I love
it.
shall
spend
beautiful
Of
it
course
on
my
concertos I
am
Ill
GUIOMAR NOVAES
THE GIFT OF MUSIC
THE
teen other children showed any special musical inclination. Hers is surely a gift straight
out of Heaven!
Many
how
this slip of
in her
toire.
first
At
Guiomar Novaes
of Schumann's Carneval
was
31
so unusual in
the mastery of technic, so poetic in interpretation as to greatly impress the jury, composed
of Debussy, Moszkowski,
distinguished musicians.
The young
girl
she arrived in
After
this
in Paris,
Italy,
du Conservatoire.
which she
filled
cess.
at
home
in Brazil,
"I think
American
New York
it
is
recital;
"and," he added
signifi-
32
Piano Mastery
These
complete.
Second Series
words the
into
mere
thrill,
facts.
the spell
After her
laurels."
same
critic
wrote
"Her tone
seems
to
heaven.
get
One
her
inspiration
has a feeling,
direct
when
from
she plays
were in long-distance telepathic communication with him as if he indeed were at the piano. And if her piece is by
Chopin, Schumann or some other master, it is
Beethoven, as if she
they
who apparently
her.
What
'Guiomar Novaes
83
If
we can
and reduce
own
manner
medium
forth.
With Miss Novaes
playthe
is
is
set
The kind
With
arm,
wrist
listener.
Even
Piano Mastery
34
Second Series
memory
and
consummate
technic.
He
marvels
still
more
present it
conviction and appeal.
I have tried, in few words, to voice some of
the causes of Miss Novaes' mastery, some of
the
explain
how
Such
is
am not
a great artist."
Guiomar Novaes
We
must
let
35
"When
I was six
my
With him
to play in
Sao Paulo,
was
my home
city,
when I
ten.
"He was my
Piano Mastery
36
Second Series
TECHNIC PRACTICE
"I practice about three to four hours every
day. I no longer practice the technic by itoutside of pieces, for there is so
technic in the pieces themselves, that I
self,
much
work
on that. But when I was a child I had to
work on technic and on all kinds of exercises
most industriously. I haven't time to do so
now, for there is so much music to learn.
"Yes, I play Bach much Bach, when I
have time, but not every day."
"Some
by playing
Do you
"No,
try to
sound.
make
power; that
is,
it
I
to
it?
MEMORIZING
"I really do not know how I memorize; it
I
the music.
all comes to me very quickly
very amusing to learn by heart. You
think I should not call it amusing you think
I should say interesting? Well, then, I think
find
it
Guiomar Novaes
37
this
So I
Concerto, in Paris, in a short time.
in
learned it all by heart
fourteen days. It is
true I had played at it some at home in Brazil
;
now
recital,
When
I did
to do
it
so quickly."
PUBLIC PLAYING
"Do you
she
was
really
asked.
"Yes, I do like it. At a recital, I soon become so absorbed in what I am doing that I
quite forget the audience;
it is
as if the audi-
my mood."
Piano Mastery
38
"That
Second Series
is
also," I
remarked.
He
my
MODERN MUSIC
"Do you
care for
modern music
Schoen-
plays.
since I
came
to
New
it
York.
five
months, just
am
really sur-
that
IV
JOHN POWELL
"ART THE EXPRESSION OF LIFE"
and
distinction
is
piano playing.
For the past two seasons Mr. Powell has
been heard in recitals throughout the country.
Those given
in
New York
instrument
skill
in
40
Piano Mastery
ism, which
we were
Second Series
able to discuss at
some
length.
We
Of
teacher.
stand him,
man was
a wonderful
had
his ideas.
grasp
to have a special method of technic, nor did he
and
explicit as to
hand
posi-
Even
"Back of
these
two
ideas,"
answered Mr.
Powell,
"lies
tion
John Powell
41
and
principle to you,
could work
if
out; the
you saw
its
value you
manner
of the working
out might vary, but the idea remained the
same.
might take the subject of skips, let
it
He
You
scribe a curve,
to the note
up
you wish to
few
reach, touching but not depressing it.
slow movements of this kind will teach you
the arm sensations you have in reaching for
the note, and also
between the two.
how
to
When
accomplished
you can play the skip with quickness and accuracy. So with large chords; the fingers are
prepared for them; the portrait of them so
to say
is
made
TONE PRODUCTION
a principle I have been working
on for several years; it is one I consider very
"There
is
42
Piano Mastery
Second Series
as soon as the sound is produced on the piano, the tone begins to die.
Some thinkers advocate letting up all weight
on the key as soon as it has been sounded.
This would virtually necessitate a new attack
for each note. I find this idea has an injurious
effect on the tone quality.
far better way
is to transfer the weight pressure from one
fluid flows
so to speak.
The violinist, in melody playing, does not relax his pressure on the string or his firmness
on the bow, because the tone has sounded,
neither does the singer relax the diaphragm.
DAILY TECHNIC
"I believe in technical exercises outside of
pieces, in fact I feel them to be a necessity,
and do a certain amount daily. At this moment I have not been able to touch the piano
for several days, not since my last recital.
Therefore, I should need to exercise my fingers
John Powell
and get them
in
43
ing to play anything at all, for the same reason that a piece of machinery must be oiled to
be
fit
for use.
is
healthy body
wishes to do anything great in music or any
other branch of art." In this connection Mr.
by the mind
in musi-
cal delivery.
we can hold
audience.
We
will
we
Piano Mastery
44
Second Series
we must know
livious of them.
is
meaning and
live
"Leschetizky
it
it
may
from the instrument, you will, almost unconsciously, come to know the notes quite well.
John Powell
45
when
and
thought,
accurate knowledge of them.
Second Series
Piano Mastery
46
by using various
"As
I said a
many mean-
inflections of voice.
moment ago
what these
are.
He
can do
this if it
be true
When this
feel in
ing
felt in writ-
it,
How
ing.
meanof an
artist
must be
keen
his sympathies!
The artist must begin
in his own soul. Life is the principal
within
thing.
use to
It
sit
some
do.
there
is
say to
is
a training of the
spirit.
Of what
them
a recluse.
life.
Live bigly
Live!"
discipline
is
John Powell
47
"Only music which is great enough to express real feeling and emotion is worth the
learning or the effort to interpret. I do not
waste time over what is not entirely worthy."
HIS COMPOSITIONS
dramatically,
its
author explains.
We
form.
yet
who have
48
Piano Mastery
Second Series
America, though
At
the
pre-
He
it, its
scriptive pamphlet,
John Powell
felt
tous
49
the event to be most unusual and portenthat they were privileged to listen to an
;
manner.
in this composition.
oc-
cupied my thought for years before I ever began to write the music, into the composition
of which I have put four years of my life."
'The ocean is
in the ocean,' seems
the Sonata:
drop
is
Second Series
Piano Mastery
50
same thought
to put the
Sonata
is
in the
in another
Movement
as the
form; 'The
Movement
is
in the Sonata.'
THREE MOVEMENTS
Part Two, the universal Teutonic Temperament (this in a symbolic and not a racial
sense) Part Three, triumphant result of this
principle, acting on this nature, in the world
;
of outer activity.
"First Movement
Our first
Allegro.
the Motive of Oneness, the second is
the Song Theme. As these unfold and inter-
theme
is
ecy.
movement,
The
it
of
namely,
the
Variations,
Fugue,
Scherzo
parts,
and
John Powell
51
Finale. The effort has been, however, to preserve unity throughout all four parts. There
One
is considerable variety in the Variations.
a merry Landler.
the
Fugue we
temperamentally considered. The harmonies are dark and sinister the gloom of morforces,
mind
terial is
ascendant.
Movement:
Marcia, in Rondo
Form. The Theme of Triumph is a victorious
"Third
Theme
of Oneness, predominating over the other harmonies, brings the work to a powerful and ma-
This last movement occupies fourteen minutes, the first sixteen and the middle
jestic close.
movement
if
he would, like
52
Piano Mastery
MacDowell, continue
works of this form.
Second Series
to
express himself in
"How
my
highest aspiration.
it
may be pardoned
a suggestion,
could be wished that Mr. Powell had chosen
If the writer
title
"The Triumph
of the Ideal,"
titles
as
of the music.
"The Universe,"
and meaning
ARTHUR SHATTUCK
THE PIANIST SHOULD CULTIVATE MANY
SIDES OF ART
To any one
As
energy.
different," so
it
may
be said of the
artists
hand of each
A musician
who
54
Piano Mastery
Second Series
little
truth
is
work.
"I believe in a certain amount of technical
practice outside of compositions, as well as in
the making of technical material out of difficult portions of them. I give a certain amount
of time daily to pure technic study, using
many combinations of double notes in all kinds
of forms.
am
old-fashioned enough to
make
'Arthur Shattuck
55
is
a mistake; activity
from certain
just as
exercises, the
is
made with
discretion.
some poignant scenes in the studio. It almost seemed as though there were three distinct personalities in the master.
On some
he
would
be
harsh, critical, exacting; at
days
other times indifferent, and sometimes in rare
good humor. When in such a benign mood,
the sun shone and all was serene in the studio,
for he approved of everything which was
played.
tive interest,
tions,
He
expected ac-
minute attention to
his illustra-
The
56
Piano Mastery
Second Series
"To
return to the subject of piano pracI believe the attention should at all times
be alert, thoroughly occupied with the matter
tice.
Even if only making slow movements with single fingers, one must entirely
concentrate on the effort.
The mind must
in hand.
work
The
piece
must
may
seen moment.
must be
finds
fresh.
it difficult
To
to concentrate,
"I
am
it is
much
bet-
up a book, or go
Arthur Shattuck
57
When
many amusing experiences which have occurred during my travels with this instrument. On one occasion, in a little French village, several men carried it on their shoulders
of
my
ducing him to look inside the suspicious looking box. When he found it did not contain
dynamite or anything of a murderous nature,
he allowed me to enter the hotel and gave me
the best rooms in the house.
make use
of the
metronome.
"You
complish this
is
with solfege
way
to ac-
Piano Mastery
58
Second Series
quainted with
"One word
as
to interpretation.
When
it as a singer would
and
the
where
do,
phrase
singer would breathe.
Study your music away from the piano; it is
amazing how quickly you get at the form and
shape; you can hear it mentally, undistracted
by physical contact with keys. Form a decided idea of passage or piece, though it may
vary from time to time."
Mr. Shattuck believes in the many-sidedness of art and its study, and has developed
lines.
He
delights
in
tries
Arthur Shattuck
eral
months on an
59
The
He says
spoke to me as I walked
soft-footed through the sand; the pure night
wind spoke the language of the universe.
Here and there yellow lights, from a distant
camp, flashed out like fireflies; now and then
a silent, swift-footed Arab could be seen, stealing along among the shadows, reminding one
of the fabled woman who haunts the Sphinx.
Far away the Great Pyramid seemed to float
between the desert sand and the cloudless sky,
as though the golden palace of Aladdin was
:
"The
stars
him
He
on
his in-
surely could picture the barbaric splendor of some passing cavalcade, the
gold of those burning sands under the blaze
strument.
60
Piano Mastery
Second Series
Hungarian Rhapsodies.
VI
LEOPOLD GODOWSKY
THE LAWS GOVERNING TECHNIC AND
INTERPRETATION
ago, when Leopold Godowsky was
a resident of America or was it when he was
YEARS
making his first tour here? I remember vividly on one occasion studying his pianistic
work from a position of vantage almost directly over the piano, when he played with
the orchestra under Theodore Thomas.
I
noted
many
and dynamic
effects,
in the air
of the arrangement
62
Piano Mastery
Second Series
it
ready to take the key before the arm descended; arms and hands were slanted for
scales and arpeggios;
and well articulated.
all
was
TECHNICAL DIFFICULTIES
clean-cut, exact
UNKNOWN
can be no question about the consummate perfection which molds and permeates everything
he touches.
"The deep things of our art," says the master, "are little understood by general students
of the piano. The great artist is an autocrat,
a monarch his work can only make appeal to
the few; they alone can understand. That this
;
should be so
ment and
lies
its
music.
The piano
is
we
a marvel,
have.
It
63
Leopold Godowsky
is
The
singer
to himself.
He
must make
clear his
meaning
on a more or less responsive medium of wood
and metal he must revivify the signs and symbols which are to paint the mood or picture.
He must translate thought and feeling into
tones he must express what is subtle and deep,
;
Where
64
Piano Mastery
Second Series
"We
at before
we judge
him.
man
is
aiming
causseur cannot
futile to ask,
The
often done.
speaks to the few who can unThis condition will doubtless exist
artist
great
derstand.
must
is
PIANO METHODS
"As
to so-called piano methods I feel it necessary to look deeper than method in order to
find the underlying principles.
Perhaps the
Leopold Godowsky
65
FINGER ACTION
"You
if
We
"You
study?"
any time.
ments and decided action of
make a
distinction, however,
hand
66
Piano Mastery
Second Series
is
an art in
itself.
"When
it is
a com-
a crescendo here, a diminuendo there, to accent, to copy more or less perfectly the notes
and marks
An artist
after minute
Leopold Godowsky
67
ART OF PHRASING
"Among
of phrasing.
The
we
will
speak
question of phrasing
was
comFormerly
things than
was
said that
It
may
be
first to
Christianas
is still,
German.
"In the matter of phrasing, Beethoven was
considered very particular, Chopin also, but
neither
do now.
knew
as
Von
much about
the subject as
we
68
Piano Mastery
who
worth,
Second Series
is
perhaps
You remember
that
von Billow himself gave preference to Klindworth's over his own edition, by advising students to use that of his friend.
worth's
work
for
Of Klind-
He
ART OF FINGERING
"Another branch of piano technic
is
finger-
we
all
When
Even
much changing
use of
all.
make
They evi-
of fingers in order to
So did Klindworth.
69
Leopold Godowslty
and more
logical.
"We
hear
much
talk of subjective
to the present
moment
Under extremely
ance.
an
and
trusts
to furnish inspiration.
favorable circumstances he
may
may
He
first
lack
"On
beforehand exactly
70
Piano Mastery
position,
us cold.
Second Series
may come
vitally
important in
What
open an English book you see each work separated from its neighbor by a slight space. Just
so
we
learn to
or
in
phrase clear
relation to other phrases; the right distance
Leopold Godovosky
71
the
quick reply;
can be used for special effects. The
relaxed weight of hand on the key, the transference of weight from finger to finger, the
condition of the hand in connecting a legato
melody is very different from that of the hand
lifted between each note; the tone has a difIf a passage is marked
ferent quality also.
legato, I insist on its being played with that
"though
it
One thing
is
unendurable
For
right, constantly
appoggiat-
the left
real
hand plays
first,
72
Piano Mastery
Second Series
THE "PROGRESSIVE
SERIES"
well-known
artists,
provides an eight-year
Besides this there are, in
On
We
Coast tour.
were soon in animated discussion, which lasted for an hour and would
have extended much longer had not time
pressed. Mr. Godowsky is a thorough master of English and expressed himself with flu-
As we had
of piano playing during a previous conference, I requested the pianist to go further and
give his ideas on interpretation.
"One of the means, or perhaps
it
should be
Leopold Godowsky
73
through
his
possible to express
more
tion;
Some
We
FACTORS OF INTERPRETATION
Piano Mastery
74
Among
amples
Brahms.
Second Series
the composers the most perfect exof proportion are Beethoven and
They
art.
"Some
stands
first
with them.
They
will
make
to
make
it
He
this view.
For him
positions.
He
interprets
them
in this style,
with
Leopold Godowsky
effects
ous tone-vibrations."
"The piano is a wonder; there
think of and study about it and
75
of continu-
is
its
so
much
to
marvelous
literature.
much
ple," I remarked.
"Singers do not analyze their work as pianIf one has a beautiful voice, the mere
ists do.
quality of tone will enthrall the listener, outside of the song to be interpreted.
If the
singer merely vocalize a scale, it is still beautiful and appealing. But the pianist must do
many
ciety like a
it.
Second Series
Piano Mastery
76
THE
"The
A CONDUCTOR
PIANIST
and
He
The
"Then
soloist.
When
their
work
can-
medium; he
is
sionata,
is
a superb symphony.
His
last
sym-
77
Leopold Godowsky
chestra; he
for that
ugliness.
pare in
PRINCIPLES OF INTERPRETATION
to
more
explicit
terms in
Intuition
first,
it.
Piano Mastery
78
That
is
Second Series
How
not to
is,
silence
fill
by tones prolonged by
pedal.
Silence
Many
structed.
times
it is
one has to
necessary to hold
from the bottom
jump
pedal,
But one must
to the top of the keyboard.
know whether to bridge over the skip with
pedal or to let there be silence between the
if
two.
TRADITIONS
"We
should not
schools
mean
and conservatories.
word.
Real tradition
is
They conserve
up
become
"The subject of
interpretation
is
a very
It
Leopold Godowsky
79
man
that, if the
VII
CARL FRIEDBERG
AFTER
simple,
unaffected
gentleman,
with
frank,
his
"I might say at the outset," began the pianist, "that I believe the legato touch is of the
Well-
on the piano. It
is
is
a legato
tone.
80
Carl Friedberg
81
EXPRESSIVE TONE
"The tone an artist draws from his instrument should be round, full and expressive, capable of being shaded and varied, just as is
the bel canto of the singer.
to sing with our fingers. I
We
should learn
From
for him.
deal,
I learned a great
to acquire a singing,
this artist
which helped
me
this
qual-
reason I
my own
teacher,
Dutch
and
later
Mme.
mann.
suggestions from
I first played for
Anton
also
received
Rubinstein.
When
my
Clara Schu-
especially pleased
my manner of using
82
Piano Mastery
Second Series
"In
my
teaching I begin with finger training; for I am not one who believes in neglecting this side of piano technic. If you will
HAND
POSITION
Carl Friedberg
83
pressed against
on
Now
it.
the
hand
is
placed
my
hand
in this position,
you
choose, but
you to dislodge
it
my
it
be impossible for
will
finger
full relaxed
arm
weight.
now begin
to
make
various
movements
and independent.
When they are somewhat under control I begin to train the thumb under the hand, ready
for scale playing. The thumb moves under the
hand, for the backward scale form, as soon as
it has left its key, and is held under the hand
I am a great
until its turn comes to play.
to render the fingers flexible
84
Piano Mastery
And why
thumb.
Second Series
should
the fingers be
equal one just the same as the others? It
Just those slight inequalities
is not necessary.
all
"When
become
somewhat
trained, I begin on the hand, moving it up and
down on the wrist. Chords are played with
this touch; then from the elbow, and lastly
fingers
have
of exercises of
printed.
special
and gymnastic
pressing
exercises.
LEGATO TOUCH
efforts
expressive
If I have a melody to play I
as many modern artists do, with a
tone quality.
can do
it,
movement
on
of
Carl Friedberg
that
is
other.
85
from an-
of playing can be
illustrated
his
point.
"Now
When
a melody
lies in
more ex-
We
tween two supports the fingers." This remark reminded me forcibly of William H.
Sherwood's method of turning the hand and
reaching out for the key, with slow, controlled
motion.
be
Piano Mastery
86
Second Series
Each
The
is
make
and
to discover
new and
this effort
Staccato can
an
notes,
trast
all,
to
go through
Carl Friedberg
to study in this
who
87
where
his
time
teaching and
is
many
now
concert appearances.
VIII
YOLANDA MERO
THE BEAUTIFUL IN MUSIC
am
to
me
When
am away
"Some
all.
keyboard with
never done
I
but
have
go,
here in my home, between en-
When
am
88
Yolanda Herd
89
it is
true, I
had
to prac-
My
exactly.
father taught me at the start; that was when
I was five and a half. One thing he made me
The
He
am
sort of training
90
Piano Mastery
with
Second Series
little
grown-ups
it is
"At
Frau Professor Augusta Rennebaum, who is
at the National Conservatorium at BudaI consider her a wonderful teacher, in
I have been with
fact, I have had no other.
her from my eighth year until I came to
Pest.
"What
ideas.
I want
now
My preference
is
is
Yolanda Herd
91
it all
too.
interests
When
me
there
so
is
all
much
marvelous technic.
succession over
soft,
loud,
now
and tone.
equality.
plays the note, the ear must discriminate between the tones and strive to make each tone
trained to
evenness they
will, it is claimed,
preserve this
played.
is
Second Series
Piano Mastery
92
from
sults
it.
PRACTICING A
"When
NEW WORK
I take
and
and
and
my mind
Then the
then I really work
till
in
it
real study of
at it.
it
begins;
my
this piece to
Now
I shall add
know
to start at once to
in the effort
from place to
place.
There
is
so
much
tech-
Yolanda Herd
nic to be
and
it is
the sort of
interesting, too.
To
take scales
found
technic that
is
93
in pieces,
them; I
fall to
there
practice
is
keen zest in
that.
MEMORIZING A CONCERTO
"In studying a concerto, I first begin with
the score, for I must know every note of each
instrument of the orchestra as well as my own
piano part.
is
liable to
may
It
is
cover a slip
more
easily.
It
is
true one
more
difficult.
my
technic to
Piano Mastery
94
Second Series
Of
When
Rhapsodic
also, as
both give
difficult;
never do
to
it,
thought must be on
my
my whole
work.
Yes, I do all
one in the house
me your
art has
Yolanda Mero
95
one forenoon, shortly after a New York recital, which had been performed with consummate mastery, with exquisite refinement of
"I was deeply imstyle and tonal effects.
pressed with this fact on hearing your recital
As I remember, when
here the other day.
played in New York, some six years
all temperaall fire and flame,
were
ago, you
ment. Now it is temperament perfectly controlled, though the fire is there, just below the
surface. But it is held in fine balance, tempered by unerring taste and skill. You must
have lived deeply in these years."
"I am older and more matured," said the
young artist, with her brilliant smile; "I have
toned down some of my early enthusiasms.
Then I have been a great deal before the public and have played much since I first came
here; I have made several tours in this counThe
try and one in Europe in that time.
rethe
more
is
the
one
before
longer
public,
poseful one can appear, at least on the outside; yet there may be an increasing anxiety
below the surface. But we learn not to show
you
first
little,
grown
familiar with
my
audience and
Second Series
Piano Mastery
96
established a
sympathy between
us, I
am
per-
fectly
literature, poetry,
life.
"To speak
who
Yolanda Herd
97
PIANIST OR SINGER
"On
is
at a dis-
piano music
is
interest
and
MODERN MUSIC
"I have not added much so-called modern
music to my repertoire, perhaps because it does
not always seem beautiful to me. It may be
interesting, impressionistic, symbolic, but not
98
Second Series
Piano Mastery
satisfying, as
stance.
Very
things
is
in-
make me
learning them,
feel I
ographic
There
is
scenes, as
some
way than
me
a desecration to
as
it
this
We
OLD MUSIC
"I am fond of the old music, pieces which
one seldom hears of nowadays. One composer
Yolanda Herd
99
by
his brother,
Friedmann Bach.
It has been
(outside
smith!).
One
of
is
the
Harmonious
HaenBlack-
also and I use a Gigue by Hassler. One cannot place more than one or two of these old
pieces on a program with safety. I shall add
;
the Sonata
very soon."
to
my
list
IX
ERNEST HUTCHESON
TECHNIC AND INTERPRETATION
IN Ernest Hutcheson
ties
do both.
In this double capacity he has become noted on both sides of the ocean.
Mr. Hutcheson rightly feels that experience
should loom large when estimating the value
and usefulness of the teacher. He can often
determine at once whether a prospective pupil
can work with him to advantage or be better
off
They may
ally, to
or
pedaling, of
different
pieces.
my
Ernest Hutcheson
101
Where
Some
pupils can play a Mozart sonata respectably who would have little idea of
sically.
the
Minor, by Mozart?
FINDING
NEW
MUSIC
"My
music.
a hundred
to examine perhaps
compositions to find one which
102
Piano Mastery
Second Series
As
"I arrange
my
way
teaching
and
"No
indicated
doubt
all
their
teachers
special
technical
make such
lists.
Mine
experience
in
teaching,
"There
is
both
much
Ernest HutcJieson
music school.
work and
school
is
103
If your
pupil needs ear-training you can require her
to attend such a class it is the same with harroutine
free advantages.
Then
the concerts
dent
intends
becoming
If the stu-
professional these
In a school they can
"The
with
my
There is nothing
their parents and friends.
which will take the place of the routine of playing before others.
to learn to
if
all to pieces
104 Piano
Mastery
time in a musicale.
first
Second Series
They soon get used
Even
however.
it
TECHNICAL TRAINING
"In regard to technical training there are
certain principles underlying all correct teaching and playing. I do not believe in any special
method.
It
is
so easy to
make a method,
equally important.
"Perhaps the three most important princiThe
ples are: Position, Condition, Action.
first presents the least difficulty.
With the
second
we
are
first
concerned when a
new pupil
It
Ernest Hutcheson
105
My
As
in that
movement
transferred from
is
the weight of
one foot to an-
we
we
easily
to the next
proceed.
POSITION
"When
AND TOUCH
elbow and
arched position of the hand, with rounded finThe latter are not to be straightened
gers.
when lifted, as some are inclined to do, but
should preserve their rounded shape. In all
the earlier stages of piano study there must be
decided finger action, with fingers kept at a
too high
medium height above the keys.
lift may cause strained conditions and hard
clearness
and development.
is
brilliancy
and
delicacy.
106
Piano Mastery
Second Series
Hutcheson
few measures of
a Chopin Prelude, a Beethoven Sonata and the
illustrated with a
Schumann Grillen.
"For octaves, after
and
an even
line in play-
ing both black and white keys, always keeping the other fingers out of harm's way, by
holding them up."
Thoughts on Interpretation
OBJECTIVE AND SUBJECTIVE
"Interpretation has two aspects, an objective and a subjective.
Imagine several fine
orators reading the soliloquy from Hamlet.
In many respects their versions would be identical;
words
all
correctly,
give the
right
accents
to
Ernest HutcTieson
107
That
is
objective in-
terpretation.
which we
his
may
This
is
sub-
No
jective interpretation.
greater mistake
could be made than to suppose that there is a
USE OF RUBATO
"One
This
is
108
Piano Mastery
Second Series
formance devoid of such enrichment will inevitably be dry and mechanical, and the most
unpardonable liberty one could possibly be
guilty of toward a composer is to make his
music sound mechanical. Hardly less is the
suggestion often made to students that, while
rubato may appropriately be used in playing
Chopin and Schumann, it is out of place in
The
truth
is
that the
Many of Chopin's
and
critics
logical
Flexibility of
rhythm, in fact,
is
Ernest Hutcheson
109
dic-
VARIETY OF TONE
"Rhythm
tion.
Chief
is
taste
and
indicates
he implies; other
regard to legato-slurs
differs very widely from that of the moderns.
It
is
ing
classics in
Roughly speaking,
it
usage the end of a slur does not necessarily involve an interruption of the legato,
while in modern usage (particularly that of
classical
110
Piano Mastery
Second Series
PEDALING
"As
for pedaling signs, the convention under which they are employed is radically incorrect, and accordingly we have to displace
Nor
by any means
the only demand customarily made on our inwriter's intention.
telligence.
is
this
an instrument of very small resonance as compared with a modern Steinway. We are told
that he played the entire theme of the second
movement of his C minor Concerto without
damper pedal; a
lifting the
Ernest Hutcheson
111
is
We
instances.
wholly
external
112
Piano Mastery
Heaven
Second Series
necessarily inherent, but simply to fix its indisputable qualities in the mind as a key to the
right feeling.
"Let
municate music, as he
feels
it,
to others.
Our
must be shown
to be shared,
and
this,
I think,
in substance
of interpretation, though
modern world
derives
it
little
from
Ernest Hutcheson
these elements
fervor,
when unaccompanied by
will forgive
113
poetic
many
offenses if once persuaded that a strong imaginative impulse sways its performers.
MR.
AND
MRS.
A. K.
VIRGIL
markable instrument.
Almon Kincaid Virgil is a native of Erie,
Penn. His father practiced law until middle
life, then studied theology and became a Bap-
He
o^o
<~
^cutM>'^DC
^AOcAy
115
After graduating
from a seminary, he entered college, but later
was forced to relinquish his studies on account
of ill health. To please his father he then took
up the study of law at the Albany Law School;
but as all his interests tended toward the study
and teaching of music, he soon gave up all
voted
to music.
In
music.
He
began to
strive at
once to
116 Piano
Mastery
Second Series
He
Some
poor key-connection.
we now
have.
At
the root of
vital
telligence in the
all this
mind
much
For
indifferent,
it is
shiftless,
117
aimless
impossible to accomplish
work they were to perform, before attempting that work. In every branch of labor the
artisan must fit himself for his task before unthe
dertaking
same?
it
why
Such a
way to gain
and arm prep-
little
of.
The very idea of moving fingers
and playing exercises on a table or toneless
instrument was considered detrimental. No,
tone must be heard there could be no playing
without tone. The fact that better and purer
thought
Thus an
118
sensible.
gle,
Second Series
Piano Mastery
but
It has been a long and arduous strughas not been in vain. The results
it
also in
scientific lines,
EDUCATION IN MUSIC
New York
after completing a successful year of musical activity in St. Petersburg, Florida, where they have established a
arrived in
enrolled.
"As
day
absolutely virgin
till
soil
down
It
119
for
"We
assist
us in the work."
and piano
We
tional subjects.
feel this is quite a false
view to take of music study. The foundation
must be well laid if good results are to follow,
logical time to
do
on this
room for reform in music
ginning. Many
there is truly great
teaching.
"There
The
of compositions.
declare that definite
Piano Mastery
120
Second Series
unnecessary, for technic can be mastered through the study of compositions. Arttice are
ists
who
insist there is
nical study
no need for
special tech-
thoughtlessly doing
harm
over.
"For
little effort
When
as possible.
they at last awake to the
fact they have never laid an adequate foundation to build upon, the awakening is a sad one.
For they
find
it
up a
stu-
demanded
foundational work.
some
there are
artists
who do
am
121
thankful
this.
"When
has been positively acquired, and the student has mastered the principal technical
skill
"Some
of those
technical
in early years to
skill.
Others are
INTERMEDIATE TEACHERS
"We
feel,"
Piano Mastery
122
Second Series
the student
who understand
"LIVE WEIGHT"
"We
it is
really vital
and
alive.
It
is
of course
is
'Mr.
We
and Mrs.
*A.
K. Virgil
123
start.
easily
and gracefully,
if it
be only standing,
For it cannot
stiff
and awk-
ward
training."
CHARACTER BUILDING
"Music study based upon true educational
principles is most assuredly character building" remarked Mr. Virgil. "The successful
piano student must have purpose, perseverance
and will power but these qualities, w^ith many
;
students, are apparently lacking in the beginIt is quite wonderful, however, what
ning.
persistent effort on the part of the teacher will
do to arouse the power of thought and deter-
THE CLAVIER
"And this
its
value.
No
stu-
dent can use the clavier under intelligent guidance, without developing mental control. Ex-
124
Piano Mastery
me
Second Series
that the average stumusically if he divides
if
musical
We
tone
their intelligence."
"Yes," added Mr. Virgil, "and you remember what Professor Butler has said: 'Development through the emotions is ultimate weakness; development through the intelligence
ultimate strength.'
is
'
XI
EDWARD MACDOWELL,
AS TEACHER
EACH
and
loved.
The
various
is
the
of the
husband, with the most unselfish devotion, during his life, so she has consecrated her time and
talents to the work of spreading broadcast a
better understanding of his music, and to the
upbuilding of the Peterborough Memorial,
125
126 Piano
Second Series
Mastery
many an
artist.
While Edward MacDowelFs fame in the future will rest on his many valuable contributions to musical literature,
we do not
forget
He
had the
numbered among
gift of imparting,
his students
who
and
are
who
possible accuracy.
"I began to study the piano
when I was
America was a
owing
to
Photograph by Darts
(&
Sanford
EDWARD
Edward Macdowell,
as
Teacher 127
for four
years. After that I worked by myself for several years, until, under stress of circumstances,
it was decided for me to make music my
profession, and I went abroad to continue my
studies.
Her
daughters acted as Vorbereiters for their famous mother. I learned they were slow, heavy
finish-
128
Piano Mastery
Second Series
own
However
My
I began.
teacher
put me through a very severe course of trainHe has since confessed that he never
ing.
country.
made
astonishing progress,
So I wisely decided
American teacher.
remain with my
"We were both working very hard, each in
our own way, without thought of any sentiment between us. I well remember my first
to
It
was the
Liszt.
TEACHING MATERIAL,
teaching material did Mr. Macuse, you ask? I studied Czerny, HelCramer (the original, not the Biilow edi-
"What
Dowell
ler,
tion),
Edward Macdowell,
as Teacher
129
that scales
scales
better
He
were so
any
one.
He
many
sorts of hands,
his
the hand.
130 Piano
Mastery
THE UNDER
Second Series
SIDE OF
THE HAND
my
principle.
"After
my
field.
Edward Macdowell,
Teacher
as
131
outstretched hand on the keys without depressing them, raised the fingers singly and in pairs,
this
kind of touch,"
PLAYING SOFTLY
"One
of
Mr. MacDowelFs
ideas
was to
H. Sherwood
tice.
approve of
it.
132
Piano Mastery
Second Series
MEMORIZING
memorizing away from the piano,
and in several ways. Perhaps the most effective way is the mental photograph I make of
the printed page. I can really see the notes
before me. I can also recite them, thinking
or speaking the two staves together, vertically,
not one and then the other, singly. I think one
"I do
my
playing in public.
MACDOWELL'S CLASS
"A
These
in
classes
the fort-
were regular
lessons, of course;
to play a
The
idea
they had been recently working on in the alternate private lesson, or they might be asked to
play a selection that had been laid aside for a
few months, and needed review.
Edward
Macdotvell, as Teacher
133
INTERPRETATION
He
the piece.
of his own to
two pupils
at the
same time, to
came the
inter-
pretation.
own
XII
RUTH DEYO
THE TECHNIC OF INTERPRETATION
IT has been truly said of Ruth Deyo that
she has every attribute of a great pianist.
Technic indeed, of the sort that is "an art in
temperament, a strong musical nature,
and a something that appeals to an audience
and compels sympathetic attention. You may
call this something personal magnetism, or perBut it holds the
sonality or what you will.
listener to the mental picture or the series of
emotional states which are being depicted at
the piano and through which we must live with
itself,"
the pianist.
intellectual
He
interest in
the divine
Photograph by Garo
Ruth Deyo
135
recital in Berlin,
received advice
musicians as Paderewski, d'Indy, Busoni, Carreno, Bauer, and later from her admired
friend, Charles Martin Loeffler.
of
Mac-
MacDowell Club
of
New
re-
ing else but give her time and talents to making the music of our greatest composer known
is
is
As
her instrument; we shall hope to become familiar with more of her work in the future.
Let us listen while Miss Deyo tells us a little
136 Piano
Mastery
Second Series
EARLY INTUITIONS
"I began to play by ear when I was two and
a half and to improvise when I was three,
of course not knowing the notes, nor having
the least idea of what I was doing. All I did
the piano made me
and seemed even more natural than
know was
happy
that to
sit at
my
by
sitting in a
me on
the keys.
My
fa-
boy.
"My
ploited as a
Wunder Kind
me
to be ex-
so I played in
Ruth Deyo
137
ture.
"
"When
I was ten, I
me an
invaluable foundation.
that
is
Ruth Deyo; I
'I
know
pure
tone.'
He
my playing.
His teaching was very suggestive. His conceptions were big and his interpretative sense
exceedingly fine. He was a very severe task-
138
Piano Mastery
Second Series
me through a
rigid course of
technical training.
"At
Schumann
seventeen.
tears in his eyes and let me see for the first time
how deeply interested he was in
career and
my
what
ning.
You
faith he
He
me from
the begin-
to Europe.
had had
said,
in
me
I can
thing he did.
my
imaginative
He
believed
Ruth Deyo
139
absolutely in the necessity of putting the musical thought of the composition before everything that is, knowing clearly what the music
has to express and then applying the necessary technical means with which to express this.
He
in technical problems
but
interested
in musical ones.
per se,
deeply
Also he never made sentimental comparisons
feel
it
essential to
make
one's
equipment
are:
first,
scientific
knowledge;
intuition.
highly developed
thing of prime importance, as
The
it is
second,
latter
is
the 'spark'
140 Piano
Second Series
Mastery
is
a most im-
the ability to
it
and
work on it
to
listener.
and
natural fault, is first to analyze the composition with great care, as to its thematic maThen
terial, its entire construction and so on.
most
difficult
things to do
Ruth Deyo
and one of the most
Self criticism
moment
141
is
artistically right.
"An
artistic career is
is
really
much more
fascinating than
all
necessities to
the artist
for his
who
own
is
artistic ideals.
PLAYING IN PUBLIC
"This brings me to the interesting question
of playing in public, and the necessary mental
control in order to accomplish it. It simply
clear projection of
is
moved
142
Piano Mastery
Second Series
to listen intently from beginning to end without the desire to let its mind wander to other
topics.
The
artist
he
is
is
one
shall
there
lis-
"This
is
Ruth Deyo
those that are constructive.
148
It
is
not always
if
TONE PRODUCTION
"In my opinion the aim should be to get as
pure and 'unpiano-like' a tone as possible. By
that I mean the necessity of getting away from
using the fingers like mechanical hammers.
This gives to the tone a disagreeable quality,
and used to be, unfortunately, very often associated with piano playing.
Happily we are
trying to get away from this as much as possible at the present time; and much advance
employed
effects,
care.
for
but
it
special
reasons
and certain
144
Piano Mastery
Second Series
INTERPRETATION
"The first thing to do in learning a composiand its interpretation, is to study its musical content and understand its construction.
One must know what has to be accentuated
and why; where the high lights come, the clition
in front of us.
how
It
so interesting to find
the voices are all woven together in a
supremely organic
is
fashion
with
no
waste
material.
"One
Ruth Deyo
145
is
be no strain
"Four things are essential to powerful playing: 1. Well developed and very strong fingers (arched hand is the safest position, though
some pianists play with fingers quite flat)
2.
Relaxed arm. 3. Impetus made from the
4. Immediate relaxation after the
shoulder.
.
KEEPING UP TECHNIC
"To keep
My
own
down
is
rather a
rules
is
dif-
certain
146
Piano Mastery
ways of keeping
in
good
Second Series
condition.
Muscular
most bene-
ficial.
is
how
without them."
XIII
MARTINUS SIEVEKING
THE DEAD-WEIGHT PRINCIPLE
MAN who
own
ac-
some
Even
them confess to
they admit there are some
beyond their reach. The
the greatest of
limitations;
problems a little
eminent Holland pianist believes he has solved
them all he feels there is nothing on the tech;
nical side
his
piano method
is
and de-
148
Piano Mastery
vitalization.
teachers
and
Second Series
Some
They cannot
art.
its
value
and
And now we
149
means of applying
manner that
this principle
will
a good part of his life in devising means to obtain a big, luscious tone, strong
fingers, fluent technic, and has succeeded to a
he has a right to be
conference will
Details of
Remarkable degree,
autocratic.
feels
this
and
stu-
I found Mr. Sieveking in his spacious studios, a man of commanding presence, winning
were
Second Series
Piano Mastery
150
HIS
"You want
to
METHOD
of
"I will
using relaxed weight?" he began.
tell
all
I
is
what
I will
can;
more,
gladly
you
show you each step. Let us sit here at this
piano and demonstrate as we go along." As
he spoke he caught my hand by one finger and
held it up to test its weight; in fact he let the
hand hang by one finger and then by another
as he talked.
people think they are using dead
when the truth is they do
weight
not really understand the principle at all. I
could mention a few pianists who do use it.
"Many
in playing,
Godowsky
reno
also.
from the
start, until it
has become so
much
All
this
pended
the
arm
time
in air;
my
now he
let
sus-
fell.
of the dead
Martinus Sieveking
151
He
strain).
technic without
is
on
insist
I do not believe
it
it.
important point, as
possible to develop a fine
this
Sometimes the
flat finger
Arm
"Perfectement!
now you have it
Now you
!
see
what I mean
on the
Second Series
lie on
on
the
and
others
underside of the arm.
top
The extensors on top of the arm do the lifting,
and as lifting is more difficult to accomplish
than dropping or falling, we must give greater
it
may
EACH FINGER BY
ITSELF
Each
finger in turn
I
to acquire these with the right conditions.
had made
own experiments along these
my
153
Martinus Sieveking,
The
to begin with one finger at a time.
second step employs two fingers in legato, but
is
We
is
a most
THE PROOF
"A
who
player
its benefits.
With two
OCTAVE TRAINING
"What
"We
is
we
154
Second Series
Piano Mastery
Use
TRAINING THE
"I have also
many
THUMB
side of
it
to the
under
all
The thumb
is
matter of memorizing?"
MEMORIZING
"In the first place, try to have the pupil learn
something of harmony even a little is helpful,
;
155
It will enable
better than nothing.
to analyze the music sufficiently to give
it is
some
little
idea of
what he
is
him
him
trying to play.
away from
the instrument.
now have
students of great
study of
weight.
them win-
They
all
from careful
ing
my
certize in
156
Piano Mastery
Second Series
York.
He
They
on the
of
my own
two hands?"
wall.
side
"One
by
is
side.
Rubinstein's fin-
believe these
a thorough believer
"I condemn my pupils to hard
is
Martinus Sieveking
157
quire a technic, keep it up and constantly improve it, should be the aim of every pianist."
A VISIT TO SIEVEKING
see
me
noon
from
we
went.
summer not on
little
inland,
this
exponent of
When we
in this country.
arrived at the villa, sounds of a
it
We
the
158 Piano
green.
On
Mastery
Second Series
drawings; prominent among them a photograph of Adelina Patti, sent him in commemoration of her seventieth birthday. Two concert grands took up the major portion of the
room, though the whole space seemed dominated by the presence of the pianist himself.
One felt here was a big personality; a man who
play the piano; before long I began to compose. At twelve I played organ in a church.
myself.
Goodson,
Schnabel,
Newcomb and
Martinus Sieveking
i"59
came
to
America
also.
But
much time
who
are unable
I want to be sur-
when
one.
After
this
"Moonlight."
Then a Bach
160 Piano
Mastery
Second Series
himself.
by
Next some
Chopin, and
finally one of his latest compositions, a Nocturne, embodying a haunting, appealing melody. "Women like this piece," he
remarked, in answer to our openly expressed
admiration. "This and the Souffranee have,
I think, the right to exist they are modern but
;
Chopin
A little
MS
copy
Martinus Sieveking
would say
161
think
The master
term "dead weight" does not, to my mind, convey the whole truth, and may mislead the uninitiated. It gives no idea, for example, of the
extreme firmness of the fingers, nor of the
muscular energy used to depress the keys in all
finger exercises.
It
is this
element of energy,
and note
its
beautiful
development.
"She
162
Piano Mastery
Second Series
on accompanying us
to the train
and
see-
As
he stood there on
the little platform, waving us a farewell, his
tall figure looming dark against the lambent
sunset sky, the whole made an "impression"
not to be forgotten. Had we only possessed
the necessary gift, the scenes of the afternoon
ing us safely aboard.
XIV
MARGUERITE MELVILLELISZNIEWSKA
THE ART OF THE TEACHER
To meet and
is
famous work-room yourself, and eyewitness to the happenings there. You scarcely
know which interests you more, the keen, analytical methods of the master, or the charming
personality, ready wit and tact of the raconin the
teur.
164
Piano Mastery
Second Series
New York
him
A "LITTLE MOZART"
Marguerite Melville inherited music and
it
This remarkable pedagogue took great interher studies, and used to call her "his lit-
est in
Mozart."
Marguerite Melville-Liszniewska
felt like
him.
a bird
Here
let
who understood her and apher talent. Not only did she enjoy
and advise
preciated
165
with,
and teaching.
166 Piano
Second Series
Mastery
est sense it is
eral player.
Mme.
own part
to individual needs.
way is
to
fit
the technic
up
RELAXATION
The
apt to be misunderstood.
think he relaxes, when his arm
may
is
is
heavy.
thing.
It
diaphragm
is
is
is
not prop-
arm
is
very
amount
167
It
is
more or less weight of arm on your fingers you turn on the weight through the arm,
or turn it off, in just such quantity as you
to bear
;
need.
"Of course we cannot do without finger action; we must have it for the development of
fingers
be taught
it
effects
at the start.
But
beginners must
later
on we can
ILLUSTRATIONS
"To
illustrate
how Leschetizky
suited his
how
exactly
With
way it
should be done.'
piece at all.
pupils to the pro-
168
Piano Mastery
Second Series
more humble
AMERICAN TACT
"One
wrong.
When
and down
excitement.
other day.'
instantly,
seemed in
I'll tell
them
to
come an-
Marguerite Melville-Liszniewska
169
"Some
they could
call
The Vor-
began.
The
170 Piano
Second Series
Mastery
ness
clearer.'
"
so sugthe
lesson
should
terminate
at
half
the
gested
hour, as the professor had another engagement.
pleased with her lesson, but she could at least say she had had one.
MEMORIZING
"In regard to memorizing," continued the
pianist,
"I
feel
one should do
memory.
To make
know
their position
on the keyboard
all
these
should
171
me
I have a wonderful
I can retain
my
music almost
memory
indefi-
mind stands me
in
my recital
FOREIGN STUDY
know new
ways of
living.
All
new
this
172
Piano Mastery
going abroad.
Second Series
Conditions
may be
entirely dif-
it
was
He
didn't
want
to see
little fellow,
him
again.
who was
all
felt
keenly for
broken up over
the turn of affairs so I tried to pacify the professor, saying perhaps the stool was not quite
;
Marguerite Melville-Lisznie'wska
right, or he
173
A SUSCEPTIBLE PUPIL
"An
instance of
his
mother.
pressive to play, he
was asked
174
"
Piano Mastery
Second Series
love to a girl?
I sup-
pose you would say, shyly, "I love you ;" whereas you should say it this way
the professor
struck an attitude and said the words with the
'
greatest ardor.
ILLUSTRATING INTREPRETATION
*
students
who
good
pupils!'
work
for years
without getting beyond the clumsy, amateurish stage. They play everything on a dead level
of monotony. It is for us as teachers to help
such struggling ones over the intermediate
stage to the place where they can bring some
light and shade into their performance. I try
to show them where and how to use variety of
Sometimes I use a characteristic group of words that will just fit the phrase,
and will give the right idea of stress. It is often
in little turns and ornaments that the student's lack of deftness stands out.
When
the
and answer:
this
175
more I
You would
ing told.
why
with
my conception.
One
He
used
of proportion.
it
be
feel
can't
don't
taught
you
you
Either you can play Schumann or you
a sense of balance
to say, 'If
it.
can't.'
"At
first
many
ideas
different pupils. If one took a certain reading as final, he was apt to find it changed on
176 Piano
Mastery
Second Series
is
tone
me
human voice as
possible.
When
for there
is
is
It seems to
me
the greatest
thinkable.
study,
gives
zest
to
one's
practice.
trained
little
Marguerite Melville-Liszniewska
177
especially
so full of
should
many
artistic,
the soil
is
re-
tistic instincts.
"The
attitude of
its
We
is
not
haven't
playing of
is with the
this
who go
abroad.
If in the lesson,
to talk
178
Marguerite Melville-Liszniewska
XV
MRS. H. H.
A.
BEACH
American-born
is
artist,
Mrs. H. H. A.
pianist of distinction.
As a player, one
many of those rare
critic
has said:
"She has
make
telligence
We
chief characteris-
of her playing."
tics
life in
now
is
is
istic
179
180
Piano Mastery
Second Series
many
others
may
not
know
works
cre-
ative activities.
man and
a woman.
Her music
woman."
Mrs. H. H. A. Beach
It
my
desire to
come
181
into per-
My
visit
home
them down.
"My
with
first
whom
I studied for a
my
mother,
number of
years,
182
I
Second Series
Piano Mastery
cal life.
Then
am
on
I want to save
it all
I can.
I often learn
my
I had done
it all
if
on the piano.
Mrs. H. H. A. Beach
these,
of course, I invent a
my
183
good many
Then,
exercises of
own."
difficult
I like to
if possible.
sit
times take
it
what changes
are needed.
"The subject
at
my
for the
recent concert
Fugue which
was
in
my
I played
thought for
it
down.
We had gone
184
to
Piano Mastery
Meran.
It
Second Series
was about
From my windows
this
new
idea occurs to
public; I use
to this
it
me when
Fugue was
am
playing in
The Prelude
"The
Mrs. H. H. A. Beach
185
of verses
these
songs,
I glanced through
them, and felt that here were just the things
I wrote quite a set of
for Miss Cheatham.
to
little
and
it
gave
me
such pleasure
do them.
me
186
Piano Mastery
"Do
come
Second Series
easier to
very seriously.
At
my
it is difficult
Some
all
for a
woman
instruments in use.
Mrs. H. H. A. Beach
event
all.
it is
But
187
must know
Thus I
made
know
voices of
take
I compose
a part of myself."
To quote another sentence
Goetchius:
is
"The development
of her very
from
Dr.
uncommon
unbiased.
unique
In consequence of
somewhat
The
this
Gaelic
heard in
XVI
LEO ORNSTEIN
SANITY IN MUSIC STUDY
LEO ORNSTEIN, an
modern
and
composer, was born in 1895 near Odessa, RusAfter coming to America he was thorsia.
ultra
pianist
in
about
five at least, if it
G minor.
was
Did I
long ago it
between that period of my life and to-day, so
much has happened to me I am another
person."
188
rt?.
Leo Ornstein
189
feeling.
For
young
youth
a
is
new and
may
age of
critics
or others
enthusiasm enough
"The
continued; "what
which you can express yourself it is the outward and material sign through which you are
able to say what is in your heart to say there;
Piano Mastery
190
i~
'fore it is subordinate,
Second Series
but must be individual.
moment
be-
little
but
it
"As a
pianist I have
excellent training, I
my
Czerny
from cover to cover. I feel Bach is the greatest
master of all: his works will never fall into
Still, we must realize we live in a
neglect.
different age our customs, our manner of liv;
we
Look
The
We
for instance."
The young
artist
went to
Leo Ornstein
my hand
191
as well as the fingers the former dewhite keys below, while the fingers
the
presses
touch the black keys above them. In another
;
had in
of blocks of granite, which
mind
the falling
my
pieces, I
illus-
trating.
As
a pianist
from the
praise
"He
powerful
more
made
literally shut
192
Piano Mastery
Second Series
in a
arm
technic, the
must be well
Strength of finger
is
much
think
it
softly; I
am
is
true.
Fingers
close to the
Leo Ornstein
193
I go through when I am
they are specially useful when traveling. Here
is one:" he pressed one finger, firmly curved,
into the table, and slowly rolled it from side
;
to side.
same way. Another exercise for strength consisted in lifting one finger in curved position,
as high as possible, while the other four were
pressed down into the table with strong pres-
sure.
In neither
yield or 'give
in,'
make
it
much
better to
We
Piano Mastery
194
Second Series
For
instance, in
G minor Ballade
But
esting effect.
it
orthodox.
BEFORE A CONCERT
true that on the day of a recital, I pracbut do not
tice for hours
all day perhaps
"It
is
much
fresher than
the last
moment.
I had delved on it up to
I play Bach a great deal;
if
the
Well-Tempered Clavichord, the big organ Preludes and Fugues arranged by Liszt,
and of course the Chromatic Fantaisie and
all
Fugue.
"The
tive,
artist's
playing in public
to the student.
is
For
it is
fit
to his technical
development, though
side.
it
Leo Ornstein
195
Calvocoressi.
There
is
a wonderful man!
He
some of
He
my
to me,
in a great
stuff.
many
ways.
He
lectured on the
"A
it
week
after
my
I gave
ing one of
my
whole
life.
196 Piano
Mastery
Second Series
always feel
me till
Even
to
the
like
Wild
become clear
"As you
to a
medium.
"You
manner of composing.
I can say I never sit at the piano when I compose, never try the thing over as I write it, and
ask about
my
Leo Ornstein
197
must stand or
fall as first set down. Perhaps after a few days
I may condemn what I have written. If I find
of the piece after
it is
written
it
"The composition comes into my mind fullfledged and complete as far as it goes. When
I hear
it,
make
I lose a note.
This
it
to
paper
lest
It
is
very
difficult to
is
decipher the
first
hasty
paper.
pieces ;
"When
in
trate; yet I
am
is
designed to
illus-
Piano Mastery
198
Second Series
scene or
mood
hinted
To
when writing
at.
be quite as appropriate and legitimate as the one he had intended. I might tell you a pretty story about
it;
these
may
to
me;
to
you
quake or a shipwreck.
observe that at
the
men
first
may mean an
insistent
earth-
When
there
become very
it
is
circle.
This Dance
is
one
scarcely believe
it
even then.
Leo Ornstein
199
On my
first
A few days
pile,
the sec-
"Some
of
my
led
into novel paths ; his work began to manifest traits similar to those found in the music
him
of Schoenberg
As
To
Second Series
XVII
HAROLD HENRY
FUNDAMENTAL PRINCIPLES
"You
on the
visit to
the
N. H.,
gan the
pianist,
brought up
"I
am
in that state.
My
first
piano
Geneve Lichterwalter.
institution,
my teach-
now
201
Second Series
Three years were spent in Berlin, with Godowsky and Dr. Ernst Jedliczka. Then came a
season in Paris with Moszkowski, and after
that America. I made a few appearances with
orchestras in Berlin, but my career virtually
began in my own land, where I have taught
my
it
alone"
it
out!
concert
you
there
desire ;
is
you learn
TEACHING METHODS
"Regarding methods in teaching, I can truly
say I have as many methods as I have pupils,
Harold Henry
for each one of
them requires
203
special treatment.
one's resources.
arm
When
hand
them
my
and
so on.
Second Series
it
that before!'"
How
work?
What
How
much
pieces ?
encourage
my
Personally
and I
I keep
Harold Henry
a practice schedule.
In
this
205
I rotate
way
is
my
slighted."
4.
"Velocity
through
definite
are not good judges of our own speed in playing, the metronome is of incalculable value in
working for
velocity.
importance in working for velocity. To attain power and endurance, all slow technical
work should be done with as much tone as is
keeping muscular conditions
practicable,
always right."
5. Best way to study chords and octaves?
"In playing chords and octaves, the hand
should be extremely firm, the wrist and arm
devitalized.
Whether
the wrist
is
held high or
wrist
is
advisable.
first
a prepared
206 Piano
Mastery
hand
6.
Second Series
first,
to follow."
means
"By
all
the
modern composer
is
is
high, the
The extreme
is now being
I come across something of real charm and inspiration, I consider my labor well repaid. In
spite of the great difficulty of finding
new
Harold Henry
207
is
his stereotyped
program-making.
much
too
own
we can read so much
that
is
of
compositions which have been on every program for at least twenty years, to speak within
bounds.
known
familiar the
little
Mr. Henry is constantly widening his outlook and enlarging his repertoire. Each season
adds to his influence as teacher and interpreter.
XVIII
pianist,
composer, teacher, belongs to a musical famHis father was long a beacon light among
ily.
the teachers of a former generation, he himself
has made an honorable career in his chosen pro-
fession.
his father
Munich.
Boise.
forms.
It
is
Henry
Holden Huss.
"I believe in hobbies," said Mr. Huss, with
characteristic animation
have them.
anywhere.
208
'Tc^
^Vr^wL^
^f^^Mre^
209
the
will tell
when he
studied,
it
was an athlete
in physique
"Do you,
halt
and make a
If
diversion myself.
or
a
below
in the street
little
something is going on
hand-organ is playing, we stop a few moments
and listen; then we can resume the work in
hand with fresh vigor.
this
210 Piano
much
Mastery
down
who played
Second Series
I suppose the term
from the minne-
to us
amusement
and sang
of the gentry in
"Another of
my hobbies
me:
Bach!'
right.
it
their
Many
duty
To
prove
how mistaken
She
air, My Heart Ever Faithful.
thought it beautiful but would hardly believe
I fully agree with you that the
it was Bach.
of the
more pleasing
211
master to be-
Though
gin with than are the Inventions.
even the Inventions contain much variety of
expression,
if
it out.
The fact is, Bach expresses
shades of feeling surely the Chromatic Fantaisie is as full of emotion as is anything of
to bring
all
Wagner.
being more and more cultivated and investigated is a very definite and let me say modern
cause for encouragement. Let me cite here
something that sounds almost incredible.
piano-desk
to
read
Fortunately nowadays
playing them!'
are ready to grasp
while
we
212 Piano
Mastery
Second Series
mind.
The very
thought.
body
to
present the composer's ideas in as fair and perfect a body as possible. Hence the necessity
of working at the technical side in order to ac-
complish
this.
in place of a great
many etudes.
"I have in my Condensed Technics endeavored to provide exercises that absolutely require great concentration, since they are all to
be played with varied rhythms and shifted accents,
Along with these technics I find it most advisable to search out the difficult passages in pieces
and encourage the pupil himself
little
to construct
Most of
my
pupils,
213
of their practice, that while they may have excellent fingers, the musical sense has not been
sufficiently cultivated,
"How
Among
line.
know
we
correct principle.
"Of
course, every teacher wants serious students. To speak frankly, if I see a girl fond,
of candy, French shoes and continued excite-
is
a much-discussed
question
as
to
Second Series
Though
he will answer,
must be shown.
"I wish you would write an article on the
'Greater Chopin/
hear so much about him
at present. One of my hobbies is to combat the
scribed but
We
idea of
One
it
Did it ever
One would
strike
you
think the
to
XIX
RICHARD BUHLIG
THE VALUE OF LEARNING TO HEAR
"INDEED I
am
glad to be in America
it is
the best country to live in at present. I returned several months ago, after an absence of
many
years.
In
fact, I really
grew up on the
when but a
young lad."
The speaker was Richard Buhlig, an American pianist, who will make an extended tour of
his native land.
by him.
One
finds
many
Second Series
he
is
before an audience.
lightenment. He
could ever tell him.
all is
many engagements booked for me in Russia, but I had played in Germany for two sea-
the
all
personality; he
subjects relating to
his views
if
on
he
taught.
between
my
my guidance,
Richard Buhlig
217
METHOD OF TEACHING
"
hand
of arms.
218 Piano
well as tact
Mastery
and
Second Series
intuition, to
know how to
diag-
He
it.
LEARNING TO HEAR
"Ear
is
doing at the
mind
making
it
sound.
to him:
is
doing, consciousness
is
moment
is
comes,
not beautiful;
Richard Buhlig
219
fact
it
it.
is
very differ-
It
is
a crucial
wrong.
always
tell
We
and expressiveness of
Second Series
it, is
his
advancement.
USE OF PEDALS
were not
there.
He
amounts to a tremolo.
repertoire contains most of the large
tion that
"My
it
Richard Buhlig
number here and
single
or ten
on
my
ing quite a
221
propaganda for
"We
these
modern or
music at
meaning
all.
They
of the term.
We
music.
his
counterpart in literature.
"Of the two greatest musicians since Bee-
is
To me,
spiritual.
It
what
is
is
222 Piano
Mastery
Second Series
that he
music.'
pedals to
INTERPRETATION
it
would be most
illogical
That
is
the non-artist.
The
latter plays as
artist
and
though by
that, as his
change a
little.
One day
mood may
may be
have more
soft places
may
Richard Bulilig
223
vitality
But he
must try
surely
ideal, while
w ith
r
teur can be an
laid to
artist,
make a
on
whom
no necessity
is
I wish
it
you think of
the artist
it,
who
gives
sum
cents repay
audience the best that
experiences, the
result of all his sufferings, his very life blood.
Or to the teacher who gives to the pupil his
is
in him, the
If
of
all his
it
experience.
artist to have things for his well-being and
existence, it would be a joy to give his art
freely, without thought of mercenary return,
it is
XX
MISCHA LEVITZKI
THE DEVELOPMENT OF A NATURAL TECHNIC
ONE
won an
was half
His
over.
The
ent,
already
highly
was an unusual
developed.
tal-
well-
made
his
performances
full of satisfac-
and delight.
Mischa Levitski is very young to have
achieved so much. He has the boyish manner,
the frank open expression and ready smile be-
tion
fitting his
224
feels the
Mischa Levitzki
225
am
rather
young
to
judge."
my
"Not long
we
arrived in America, I
was taken to the Institute of Musical Art,
after
went
to Berlin,
226 Piano
Mastery
Second Series
by such guidance.
the rest of
my time to
be devoted to
leaving
music.
study.
An injury to my
right
all
my
time to music.
But I
it, made
end of
happy to say, how-
am
beginning to realize
this
Mischa Levitzki
"With
my two
227
lit-
For example, I
I seldom did so.
but
scales,
As my teacher never heard scales at the lesson,
and as I was able to make a pretty good showtle technical study, as such.
ing in
pieces, he thought I
ticed them.
my
gave
the
earliest
may
to play the
He listens carefully,
on a
slip of
bers them.
before
Finally he
Hun-
228 Piano
Mastery
Second Series
garian master did not so greatly concern himHe did not attempt to teach technic outself.
side of compositions.
quire this by himself.
My
ac-
technic advanced
first
much more
difficult
in slow
and
know how I
me
know how
many artists
ject to
lieve
did
my own
development
do
sooner or later.
always
must
Mischa Levitzki
am now
As
229
came almost
as a revela-
As
The
rests.
rather the
new
But
manner of their
application that
to
me.
It may be only
light
case that the working out will apply ;
my own
covered, yet
words
it
it is
is
would be
very
difficult to
dis-
put into
it than
can
be
said
the
Briefly,
principle of relaxation plays a very large part; sup;
it
to describe
easier to demonstrate
it
it.
them
in teaching
artists.
But
and playing,
as
do
all
great
I have discovered for myself
Second Series
None
of
my
teachers
in this
branch
AN
ARTIST'S
it.
artists,
one
is
ment with
When
In
artist is
He
movements.
For
instance
more
my own
from what
quiet his
playing
it is
is
in the
There I play
privacy of my own studio.
slowly, with well-raised fingers, and large free
Mischa Levitzki
231
it.
Public playing is the finished product,
shorn of everything that savors of the workroom."
Here Mr. Levitzki brings out clearly a point
which often mystifies both teachers and students. They seem to think, because an artist
plays
so
quietly,
with
little
movement
of
effort;
It
is
ladder, when,
take the required steps leading to the goal.
Rather start at the bottom, making the ascent
232 Piano
Mastery
THE
Second Series
Then
there will be
difficult
of
all.
The
notes are
composers, the tones can be sustained or covered by the pedals, but not so in Mozart. Here
playing.
There
At
is
one of
really a school of
my New York
Mozart
recitals,
But I
toire.
XXI
ETHEL NEWCOMB
MENTAL PROBLEMS
"!T was a
IN PIANO STUDY
liberal education to
have known
how much
sider
seemed
"To
master gave
had not thought about public appearLeschetizky came to me one day and
said:
"I am
seem
you seem to have entirely settled down to your
studies you ought to be playing.'
;
233
me
Second Series
"Get
with
orchestra
wanted
only
his pupils to
(He
always
play in public.)
'Very well,' I said, 'I will go to the manager to-morrow morning and see what can be
done.'
if
me
We
Ethel
Newcomb
235
it,
right, she
me afterwards.
come
in,
you
'The next
have to
will
gave up
STUDIES
more
brilliant
and pow-
WITH LESCHETIZKY
a child.
home
in America,
and
my
Second Series
friends considered I
had
talent.
In
were
it
I had
"I was duly prepared by one of the Forbereiters,, Fraulein Prentner, before taking my
first lesson with Leschetizky.
After a couple
of lessons, I was told to play for the next class.
These classes, as is well known, assembled every
fortnight.
ence.
My
name was
called
first
experi-
and I marched
three
quite bravely to the piano, to play
not
was
what
in
store
for
me.
pieces,
knowing
my
At
its
close
Ethel
child.
Newcomb
Now
I was addressed
match with a boy of
237
as a lady, yet I
I began
to see the difference between the training I
couldn't
eight!
They
America.
reasons.
*
And
pupils.
he did.
He
introduced
many
me
everywhere as his
took the greatest pains to make
and
on every point. One wonderful summer I went with him to Ischl, and there we
worked together daily, on how to teach, taking
assistant,
me
clear
differently,
to do other-
Second Series
PUBLIC PLAYING
"The
pianist
is
influenced
more or
I
am
less
by
certain
way; the
former.
"This
is
Ethel
Newcomb
239
way hampered
am
is
coming; I
"True
listening
my fingers.
by
so
possible
detach one's self from one's surroundings as
to be entirely wrapped up in what one is doing.
is
Second Series
deem necessary
when
the pupil
first
came
In fact, at
he saw technical
to him.
if
"One
Ethel
Newcomb
241
you want
"I
am
is
improving
We
We
itself."
XXII
RAFAEL JOSEFFY
BY SOME OF HIS PUPILS
THE name
the
manner of playing, or
RAFAKL JOSEFFY
Rafael Joseffy
how
carefully he
worked out
243
technical prob-
lems.
must adapt
individual, so,
will be
his instruction to
fit
and receptivity.
I have been able to confer with several of
the American pupils of Rafael Joseffy, and
ROSE
interest
WOLF
brought to her
work a wide experience of masters and methods. Born in Russia, a student in the Rubinstein Conservatory, under the famous pianist,
she also studied with Klindworth and Schar-
244 Piano
Second Series
Mastery
says.
we
sons,
sulted
me
He
con-
my knowledge
of
Mr.
JOSEFFY'S
METHOD
level
on top
see
al-
He
takes
up
opening chapter of
He
First Lessons.
Each
ent touches
these are for
Much
legato,
trills
and
keys.
Rafael Joseffy
and always with
245
FINGERING
"Joseffy was very exact in all matters of fingering. When possible, a phrase or passage
246 Piano
Mastery
Second Series
shows
ORNAMENTS
"In regard to embellishments, he was particular to preserve the classic spirit, of bringing
the mordent or grace note on the beat. This
for
Haydn,
Scarlatti or Mozart,
CHOICE OF PIECES
"One
that
relief.
Rafael Joseffy
247
tle
tively,
ism."
ALEXANDER BERNE
doing excellent work as
pianist, teacher and composer, speaks enthusiastically of his lessons with Joseffy, with whom
is
five seasons.
during practice.
"With some pupils, I am told, he did not concern himself so much about technic. He was
very exact with me, for which I am grateful,
as it has helped me so much in my teaching,
248 Piano
Mastery
Second Series
SLOW PRACTICE
"Slow practice was greatly recommended,
as
"He
we
it
all
keys.
RHYTHM
"Joseffy was a great stickler for perfect
rhythm. He insisted this principle should be
carried into everything. If the scale ended on
a third beat, the following repetition, or new
scale,
first
249
Rafael Josef fy
THE
"With
CLASSICS
He
complete rapport.
is
in
eighths
classic spirit.
smoothness, style
number
and
of compositions for
effect.
"At
Many
First Lessons
new
me
before the
work was
book I use in
my
Second Series
This is the
teaching, although I have
published.
Mr. Berne
relates
many
incidents,
showing
Tarrytown.
EDWIN HUGHES
Mr. Edwin Hughes, who has been for a
number of years as student and teacher a
leading representative of the pianistic principles of Theodor Leschetizky, was a pupil of
Joseffy for a couple of seasons before going to
Vienna.
Of
says:
He
Rafael Joseffy
251
put that
first.
fingering.
"He
advised
making
whom
much
easier.
PERFECTION OR ENDURANCE
252 Piano
Mastery
Second Series
For endurance
1'
For
would
technical mastery, as
are involved in them.
253
Rafael Josef fy
JOSEFFY'S BOOKS
ON TECHNIC
"I make great use in my teaching of Joseffy's treatise on Piano Technic; I consider it a
great work. He has treated every point exhaustively. Of course it is a book for advanced
students, as he accepted no other kind. His
First Lessons,, which was issued later, I do not
use. After a careful examination, I found the
exercises just as difficult many of them
as
those in the larger work.
He intended the
First Lessons to precede the more advanced
He was
problems.
method, he considered had a thorough foundation. I had been well grounded in this method
before I went to him, through my studies with
I found this
S. M. Fabian, of Washington.
preparation of the greatest benefit to
me
in
my
later studies.
"
As
Why do
Americans come over here to study, when they
have one of the most remarkable teachers in
our time.
Rosenthal remarked
Second Series
XXIII
KATE
CHITTENDEN
S.
ABOUT
the
in contact,
first
on
my
musician with
whom
I came
New
professional advent in
We
saw the Synthetic Method, which she organized and worked out, grow from its very inception.
seems
To
Those
ideals I be-
Second Series
best that
establish
is
in
hand."
Kate Chittenden
an American on both
sides of her family; her mother's people coming here in 1629, her father's in 1638. She happened to be born in Hamilton, Canada, where
her parents went to visit and remained. In
music she had the benefit of study with an exis
Later,
In 1892 she joined the staff of the Metropolitan College of Music, which has since been renamed American Institute of Applied Music.
She has been the Dean of the Faculty there
since 1900.
We
Kate
S. Chittenden
257
much
that
is
useful
and helpful.
"That is because the piano is a universal instrument," said Miss Chittenden. "The singer
can only sing one note at a time, a violinist can
at most play two; but the pianist can depress
about a dozen keys the piano is the instrument
;
of harmony."
I found they
as well as the
keyboard
all
At
This
Second Series
"We
is
to be considered the starting point of an independent system. The first technical application is made by starting from each one of the
Next, we introduce a half followed by a whole step, proceeding from the same starting point, always making clear the relationships. Then we build
'Filled Seconds,' utilizing three piano keys.
With three sounds a number of rhythmic
changes can be introduced; but in order to
and dynamics
as one desires.
much
chromatic work, we always apply the same figure to the diatonic scale, taking care to emphasize the difference between the chromatic and
basis of so
"We
sharp
and
flat, or
sharp and F
two mountain peaks with a valley be-
use either
flat
Kate
S. Chittenden
259
tween.
these
"As
sharp and
sharp
two valleys and a small
hill
between'
equal to
CHORD STUDY
"In teaching chords I use the three
this order: diminished,
minor, major.
triads in
Inver-
are
up
in the
260 Piano
Mastery
Second Series
of stumbling so prevalent
it
among immature
pianists.
"I
am
"How
go
you
"In a college such as Vassar, where the ordinary studies are accompanied by a large
amount of laboratory work, as well as a good
deal of special-topic writing, executive music
has to be crowded out, and it is very difficult for
Kate
S. Chittenden
261
and
inspiration,
it is
invaluable.
My
assistants
number.
"Piano music, however, has recognition at
Vassar through the admirable course in Inter-
in
These
262 Piano
Mastery
Second Series
way
that at the
end of the year the students understand thoroughly why the composition is good and what
constitutes an artistic reading. They learn to
criticize intelligently, and after the laws are
once understood, students are called upon to
criticize each other.
This particular item is of
peculiar benefit.
it is
it
makes an
in-
Miss Chittenden numbers over three thousand pupils who have studied with her in the
course of her long career. For nearly eighteen
years she has been head of the piano depart-
ment
season.
on the
New York
Board
first
minded
to all the
new developments
in the
to her capacity for comprehending quickly new points of view and dis-
it is
is
worth
Kate
while and what
is
S. Chittenden
of
little
263
XXIV
AUGUSTA COTTLOW
TECHNICAL ESSENTIALS IN PIANO STUDY
The
first
we began
to look
we
are learning to
find ourselves in these days.
too have
artists of the keyboard, who compare most
We
teacher.
Augusta Cottlow, who has given the following conference, is an artist of whom America
may be proud ; her views will doubtless be read
with deep interest.
S64
Augusta Cottlow
265
"Prominent
hand
how
to practice, and so
hand and mentality of the
average individual there seem to be so many
technic
Yet
on.
position,
in the
hindrances that
it is
more
numlight
pressed,
and
this
mode
of expression should be
for.
Without
ideas
listener
Second Series
performance.
ment, can make little or no effect. It therefore behooves every student to increase his interpretative ability as assiduously as he is striving to perfect his mechanical control.
PATIENT STUDY
"It seems almost superfluous to touch upon
the subject of patience, as nearly every artist
has, in interviews or articles, dwelt upon the
patience required to perfect a reliable technic.
This is, of course, true in every line of human
endeavor. Great lessons can be learned from
men
like
Augusta Cottlow
267
over,
those
who wish
what
is
more or
brings that enviable 'polish' which is the cherished desire of every aspirant to pianistic
success.
HAND
POSITION
"Hand
is
Second Series
little
An
hand
and
the keys,
otherwise
perpendicularly into
slanting
as they
position
would
of
the
The
fingers should
by
means preserve a rounded position and be
struck on their tips. Whatever may be said in
all
favor of the stroke produced by the straightened finger, I have never heard a crystalline,
manner of
tone-color-
Augusta Cottlow
269
hammer
otherwise the
hammers
all.
This
is
strike the
produce
this
quick
delicacy.
THE WRIST
"This wrist
is
Too
attention
is
hands and
arms? The muscles which raise and lower the
fingers are situated in the forearm, and are
connected with the fingers by tendons which
is
stiffness in the
One
is
held
rigid, therefore, it
pen.
If the wrist
is
270 Piano
lies
Mastery
Second Series
This
member
is
this
means of the
by elevating
the wrist slightly when the thumb passes under
the hand in arpeggios, by drawing the hand
down
into the keys in melody playing, by sinking the wrist and lifting and lowering hand
and arm in chord playing by leading with the
wrist,
and
so on.
the muscles
When
the wrist
is
lowered,
The
slightly rotary manner.
of
strength is also assisted by this
development
elasticity of wrist, for every part of the hand
movement, in a
and arm
is
thereby unhindered in
its activity.
of
VELOCITY
velocity
is
attained
is
Augusta Cottlow
slow, careful practice.
Velocity, in
271
many
in-
is
It usually requires
most
assiduous practice with the metronome, beginning with one note and increasing rhythmically
to two, four, six and eight notes to a beat, to
how
work
in pieces.
TECHNIC PRACTICE
At
least twelve
Second Series
forms of technic should
trills
and
octaves,
Chords,
Thirds,
Fourths,
Sixths,
Repeated
Notes and Skips. The principle of practicing
the various forms of technic in routine work
should be applied whenever these forms occur
in compositions.
nic practice,
This
is
Augusta Cottlow
dent from developing the
273
artistic side of
piano
argument often used by teachers on this subject is that the student can only acquire a
knowledge of piano
literature
by studying
the
greatest compositions.
They are quite misfor
one
this
can
taken,
get
knowledge by the
thorough reading and hearing of these compositions, as I
know by my own
experience.
my childish
play, but
thought, that
HOW
it is
we play!"
not
WHAT we